It encapsulates much that the press, that her public, feel Lana is about – from the Hollywood nostalgia to the gentle snipes at those who’d prefer to write about her looks than her art The lack of a couple of standout radio hits may be the only real criticism Ultraviolence doesn't mess with the formula too much to alienate anyone who fell for her first time around. She’s a pop music original full-stop, and there are not nearly enough of those around What seems certain is that whatever she really is, or whatever she does in her chosen milieu, Del Ray is the best at itīy no means a cheerful listen then, but a stunningly performed and arranged one, and an album likely to feature on 2014 best-of lists in the mainstream and alternative media alike

It’s a strange, uncomfortable form of expression, and it’s a big part of a record that’s a hundred times more cohesive than ‘Born to Die’Įvery chorus clicks, the melodies are uniformly beautiful, and they soar and swoop, the better to demonstrate Del Rey's increased confidence in her voice She's never sounded so comfortable in her own skin Ultraviolence is a beautiful argument for her relevance and her potential longevity Ultraviolence asserts that as a songwriter, she has complete control of her craft, deciding on songs far less flashy or immediate but still uniquely captivating

Her lyrics will ensure that she’s unlikely to be covered by Taylor Swift any time soon Weird things make this less tuneful collection greater than the sum of its parts, like the quiet urgency as one tune moves to the next Ultraviolence is the horror show of the American Dream gone sour, Lana Del Rey’s beautiful self-constructed nightmare that only she can awaken fromĪs strange and intoxicating as ever. With Ultraviolence, Lana Del Rey remains a singular figure in music, sounding (and addressing the idea of authenticity) like no one else This record is stark, isolated and at times unnervingly frozenĪ coherent piece of work that proves what many hope to disprove: Lana Del Rey is the real deal It's the very definition of a grower, and this record has something Born to Die never had: more reflection Unlike Born to Die, the album doesn’t contain a single pedestrian song Try as you might, it’s hard not to be swept away by Ultraviolence’s gorgeous 70 mm sonic vistas. Sort by ADM rating Sort by most recent reviewĭel Rey braves huge and often absurd gestures, but my God, does she sound like she means them

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